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Monthly Archives: August 2011

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As this post goes up, I’ll be at Gimhae Airport picking up my father, then taking him and the rest of the family to the Daegu 2011 IAAF World Championships this weekend and next. We’d like to stay there for the entire nine days (he will!), but unfortunately next week we have to move apartments on Wednesday, and then I start teaching again the next day. Needless to say, I’ll be too busy to write again until he leaves on the 7th of September.

Until then, please feel free to raise and discuss anything sociological, gender, advertising, K-pop, and/or athletics-related here, and sorry for not being able to complete any song translations this month. But I do have five that I’ve been working on, which I’ll put up as soon as I’m back!

Update, September 7th: I won’t bore you with the details, but I’m afraid my “comeback” with have to be pushed back to Monday the 12th. Sorry!

I’m no prude. I think that children are – and have a right to be – sexual beings. However, there is a difference between sexuality (feeling sexual) and sexualization (being seen as sexy). I (and many other like-minded feminists) believe that girls should be sexual; but, sexualization (and its concomitant focus on appearance instead of desire) is bad because it denies girls’ sexual subjectivity in favor of sexual objectification.

2) International AIDS conference in Busan this weekend

See Busan Haps or the conference website for more details. Unfortunately though, it’s not really aimed at the public (it’s much too late to register, and was prohibitively expensive anyway).

Meanwhile, to any foreign readers that may be under the understandable but false impression that the Korean public doesn’t believe that AIDS exists here, let me point you to this eye-opening experience I had about that back in 2005 (scroll down to just before the “Lesbos” picture).

3) More babies!

- Congratulations to Roboseyo and Wifeoseyo, who are having a Miniseyo in October.

- Congratulations again to Shotgun Korea, who had Desmond William Wolfie Kim on August 18.

- And finally belated congratulations to Going Places, having a baby in November.

- Over at Busan Haps, Roy Early ponders how to keep strangers from constantly touching his children. I can’t say that I’ve had that problem myself, but we are both tired of our children constantly being given candy, which non-parents may be amazed to learn just how many Koreans seem to always have on their person.

(Source. It is just me, or does A-ran’s {아란} face on the far left seem very badly photoshopped?)

4) Please objectify us! Pleeease……

Hey, I’ve always maintained that it’s largely the current glut of girl-groups that is driving their increasing sexualization. So, to play Devil’s Advocate, Swing Girls (스윙걸즈) differentiating themselves on the basis of all members having D-cup breasts(!) are really just being explicit about something that other girl-groups have already been doing for years.

And boy-bands too of course. Two weeks ago for instance, Lee Joon (이준) of MBLAQ (엠블랙) helpfully reminded us of what’s really needed for a guy to succeed in K-pop these days:

5) Does Jung Ryo-won (정려원) have anorexia, or are netizens overreacting?

I’d be one of those netizens I guess, mentioning those anorexia speculations back in March and May 2009 (see #3 here), and adding that I wasn’t personally convinced by her explanation that she lost the weight for a movie role. While I do sympathize with her frustration with netizens though, I’m afraid that 2 years later I’m similarly unconvinced by her new explanation that she’s one of those voracious eaters that never seems to put on weight, especially as I used to be one myself (albeit 20 years ago!).

6) Singles eclipse nuclear families in Seoul

It’s a slightly inaccurate headline – two parents and any number of children constitutes a nuclear family, not just two – but it’s certainly true that more and more people are living alone: 24.4% in Seoul according to the JoongAng Daily, and 23.9% nationally according to Real Time Korea. These are only slightly below rates for Western developed countries, as this graph from 2006 indicates (I have more detailed statistics in my bookcase, but most are over a decade old sorry!).

See here for more background, and here for more on the industries that were already springing up to cater to the increasing numbers of singles way back in 2009. (The latter also happened to have that handy graph on the right)

7) Korean students with make-up

Under fear of being sued by parents, at least one teacher is no longer enforcing school rules that require them to wash it off (via: Yahae!)

…Whereas the media hypersexualization of children is pretty much accepted — if not admitted — in Korean society, and the media hypersexualization of white women is all but de rigeur now, I think the idea that the media sexualization of biracially white/Korean children might not turn out to be as profitable an enterprise in Korea.

The band seems to be getting a pretty negative reception online, and it’s not hard to see why: the particular anxieties regarding race in Korea that the group’s promoters are trying to exploit — ambiguities of race, and the permissible exoticism of the non-Korean female — take on a life of their own when there is not a Korean male in the picture to “own” her (and, likewise, to “pwn” her)…

See here for the full post, and here (and possibly here) for my own on the issues Gord alludes to with that last sentence. Also, Angry K-pop Fan makes some interesting comparisons between Chocolat and pan-Asian band Blush.

A friend of mine, a close watcher of K-pop, believes that manager JYP has tended to make Suzy wear more conservative costumes and do slightly less risque dances than her adult co-members of Miss A, nor made her the focus of the group, all quite unlike what he did for So-hee of the Wondergirls when she was a minor (a practice replicated by other entertainment companies, such as: SM Entertainment with Sulli of f(x); Cube Entertainment with HyunA of 4Minute; and indeed Paramount Music of {at least} Tia of Chocolat in #8 above). With this loaded endorsement however, that may all be about to change, as indeed a similar one (“Lolita Sexy”) early last year arguably symbolized a great deal about his past and future marketing of the Wondergirls.

I like to think that if I’d seen AKB48’s newest member Aimi Eguchi (江口 愛実) when she debuted, that I’d immediately have been able to tell that she was actually computer-generated. But I’m not so sure: whereas it’s pretty obvious in most of the shots here and here, I would never have noticed anything unusual about that ad above (all the members look quite fake!), nor that this and this picture weren’t of a real person.

It’s a little more obvious in the commercial itself though:

Thanks very much to @Septemberlena for letting me know about her. Unlike Hatsune Miku (初音ミク) that I wrote about two weeks ago, who very much resembles an anime character despite the impressive technology behind her, unfortunately such photorealistic idols clearly have a huge potential to insidiously affect teens’ body images. Especially when coming from a group as popular as ABK48.

This translation of part of this Korean article follows directly from Parts One, Two, Three, and Four. If you haven’t already, please read those first, as the author didn’t intend for any section to be a stand-alone post:

That the idol system is exploitative might not be a view that not everyone shares. There might also be people who ask this kind of question: though it is a difficult and uncertain process, isn’t it something they’re not forced to do and that they’re doing because they want to?

If so, then the rigorous university entrance exam system, murderous tuition fee, and the irregular work that fills a young person with despair aren’t really problems. Who forces them to go to university or do irregular work? In a society that has limited choices, how unreliable the expression ‘voluntary choice’ is! Let’s hear what one idol hopeful said, as reported in the Hankyoreh [newspaper]. After getting a double-eyelid surgery with [financial] difficulty, this high school student is now working part time at a convenience store, a fast food restaurant, and a gas station with the goal of getting nose surgery.

“After I asked her scary things like what’s her reason for wanting to become a celebrity while enduring such difficulties at a young age, and hasn’t she heard of idols whose youth and talent were exploited after they signed so-called ‘unfair contracts,’ she answered me. ‘Reporter Onni, be honest. If a person like me, without money or connections, and whose grades are so-so, somehow goes to university, what is there after that? Even though it’s a little difficult now, you know that if I just get an agency, that is a real opportunity to me.'” (Hankyoreh, “End of the ‘Era of Success’ for would-be celebrities with no connections” June 17, 2011)

James - See “Teen Angst and the K-pop Machine” at SeoulBeats for more on the appeal of joining a talent agency

Last year, the Ministry of Gender Equality and Family surveyed adolescent celebrities (including hopefuls). By looking at the results, we can see what kind of thing underage celebrities’ “voluntary choice” is. 36% of respondents worked more than 8 hours a day and 41% even worked on nights and weekends. Of these minors, 10% said they had experienced wearing revealing clothing, and of that group 60% answered that they did so under coercion.

If you read more of the Hankoryeh article mentioned above, you’ll learn that even this kind of opportunity is not given equally. Entertainment management agencies, which had seemed to give chances to children “without money or connections,” now choose hopefuls that combine money and background.

“‘Though children in difficult circumstances develop quickly thanks to their hungry mentality, after succeeding, the chances of contract-related court cases arising is high, because they are effectively the heads of their household,’ is the reason a broadcast PD [Marilyn – I checked] gave. ‘On the other hand, children from homes that have money don’t care about money problems, and with their image as a “Kangnam kid” or “Mom’s friend’s son” [a perfect kid, to whom your mother is always unfavorably comparing you] they are in the spotlight in advertising too.’”

It’s true that some idol-hopefuls make money that average people have difficulty imagining. That doesn’t mean that the idol system is justified. This is because it based on the sacrifices of the majority at the bottom of the pyramid. It is like how even though the Korean university entrance exam education benefits a minority, sacrificing the majority in supporting roles can never be justified.

It doesn’t matter if you are a fan of idols or not. If you think the dream that they are pursuing is worthy of praise, it is a matter of taking care of them so their dream has happy results. If you think that dream is a just a children’s fantasy, lets provide a way for them live joyfully even if they don’t pass the university entrance exam or audition. That is the duty of real “oppas” and “noonas.”

Image caption 7: Idol agencies don’t want hopefuls who possess creative talent. The ideal candidate is mechanical perfection at learning and copying the moves as they are given. In the picture, a scene from Girls Generation’s music video “Oh!”

(Thanks very much to Marilyn for translating Parts 4 and 5)

Update - See The Korea Herald for more on exploitation of minors in the Korean music industry.

Update 2 – The Marmot’s Holereports that “apparently there are hundreds of students from elementary to high school who are skipping class in favor of auditions in hopes of becoming a celebrity. National Assembly members are calling for measures that would ensure that these students receive the mandatory education like other students.”

This translation of part of this Korean article follows directly from Parts One, Two, and Three. If you haven’t already, please read those first, as the author didn’t intend for any section to be a stand-alone post:

Auditions are not an equal opportunity open to everyone. The most important thing is [one’s] body. One must have a body that is suitable for the planned purpose of exposure and meets “the standard.” Agencies don’t want people who have creative abilities. The most ideal qualification is an “easy to tame” body that perfectly, mechanically copies the moves that the agency determines.

Idol hopefuls have to beat nearly 1000-to-1 odds to pass the audition and just qualify as trainees. Of course, the majority study dance and movement at a [training] school, and pile up “prior training” like going through diets and surgery. Also, among trainees selected in this way, only 2-3% get the chance to be part of a [girl or boy] group.

There is one reason that trainees endure intense training and an uncertain future. It is the vague hope that “I too can get an opportunity.” However, this “hope” brings with it a very cruel system of discipline. This is because trainees are made to continue to do work for which reward is uncertain, and they become a threat to groups that have made their debut, [who are told] “There are many people who can do this instead of you.” The excerpt below illustrates this.

“The making and debut preparation of a group is also not something formed between like-minded trainees of similar tastes. Members are selected according to the image that the record company is planning. They must behave according to the image assigned to them as the role each must play in the group. If they anger [the agency] or go astray here, the agency that manages them like they are property can make an example of one of the members by eliminating him or her. This kind of threat is an effective strategy for controlling new celebrities.” (Lee Ahn, “Illusions about idols revealed by [Marilyn- in light of?] Wondergirls’ Sun-mi’s departure”, <Media Ohneul> 2010. 1. 26)

In idol groups of the past, each member had a marked individuality and played a distinct role. As a result, if even one member left, the whole group was damaged. Groups often also broke up because of the withdrawal of one member. However, idol groups that appeared in the latter half of the 2000s have similar heights and figures, and their roles in the group are not distinct. Now, a member is a “standard part” that can be replaced at any time.

In the Wondergirls’ case, the openings left by HyunA’s and Sunmi’s departures were soon filled by other [new] members, and the group is operating with no problems. Girl’s Day’s agency also recruited new members within four days of the announcement of Ji Sun and Ji In’s departure. Male idol group U-KISS also filled open seats left by Kibum and Alexander with new faces and is continuing to work. Ultimately, the idol system is about “the flexibilization* of entertainment labor” or “irregularization” for the sake of easily replacing labor.

Caption: The standardization and lack of individuality of idol groups’ characteristics. Through componentization [making each member into a “part” that is responsible for a small aspect of the whole], a standardized image and the division of roles make members replaceable at anytime. In the Wondergirls’ case, two out of five members have been replaced, but the group is continuing to work without much damage. (end)

*Apologies for the long delay since Part Three, and thanks very much to Marilyn for helping me to catch up by translating this one. About some of the odd words in it, she adds that she:

…found a definition of “flexibilization” as leading to “a core group with unlimited full employment, and an increasingly larger group of short-term limited and or part-time employees who face severe employment risks, ultimately resulting in stress” and “componentization” is “not limited to software; through the use of subcontracting and outsourcing, it can also apply to business organizations and processes.”, but “irregularization” seems to not be a real word.

Blame Greek DJ Areia’s trance remixes for my falling in love with K-pop last year, and indeed I’m still a big fan of his. But I’ve noticed that while there seem to be plenty of other good remixers out there, it can be really difficult to find them if you don’t already know who they are. Add that now I know where the quality K-pop is too, then frankly I’ve given up looking.

Enter Christine of Pop88, who actually regularly showcases remixers’ work all together in one convenient short podcast. Make sure to check out her latest episode here, and also her deeper K-pop and sociological commentary at 8Asians!^^

Like most overseas news about Korea, that’s surely an exaggeration: I jog along nearby Gwangalli Beach several times a week, but rarely see any women wearing high-heels on the sand itself, let alone while in a swimsuit. But I guess at least Kim Na-young does, and I’m curious as to how she came to believe that she had to dress – and presumably diet – like a model 24/7 in order to be attractive.

“It’s all diet advertisements’ fault!” I’m sure you expect to me to say, and indeed I do think they play a huge role. But let’s not forget HyunA’s latest MV not all of them are created equal, with Post’s latest ones for Light up (라이트업) cereal being especially egregious. For not only do they promote the idea that being tall and ultra-skinny is the only attractive body shape for women, but also that having one is absolutely necessary for one’s career:

Most of that is self-explanatory, but let me add the dialogue for completeness’s sake (note that it’s normal to address someone by their position in Korean workplaces):

To play Devil’s advocate, being attractive is always going to help one’s career, but that’s just about the only defense that can be made of this ad. In particular, note the women it (and others in the series) present as unattractive:

In the ad in the top left and bottom right, supposedly the unnamed model is much too fat to consider wearing a bikini, as is the woman in the background in the bottom left. And as for Kim Sa-rang, the entire ad concept relies on her being unattractive at the top right, but transformed after eating the cereal into what you see in the bottom-left, despite the inconvenient fact that she (presumably) had exactly the same body in both shots.

Other problems with the ad include the confusing insertion of a fox’s tail on the Department head (as far as I know, foxes have a female image in Korean culture), and how he’s portrayed as such a, well, complete dickhead. This is further stressed in a slightly longer version of the ad:

On a final note though, I should mention that of course is it not only the Korean media that promotes the notion that only tall and skinny is attractive. Indeed, in fact the very first thing the ad reminded me of was a New Zealand Listener review of the forgettable 1996 movie The Truth About Cats and Dogs, which pointed out that only in Hollywood would Janeane Garofalo ever be considered homely and unattractive (and which the whole movie was based on).